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The History of Chinese Animation I The History of Chinese Animation China has been one of the first countries to develop its own aesthetic for dynamic images and to create animation films with distinctive characteris- tics. In recent years, however, and subject to the influence of Western and Japanese animation, the Chinese animation industry has experienced sev- eral new stages of development, prompting the question as to where anima- tion in China is heading in the future. This book describes the history, present and future of China’s anima- tion industry. The author divides the business’s 95-year history into six periods and analyses each of these from a historical, aesthetic, and artistic perspective. In addition, the book focuses on representative works, themes, directions, artistic styles, techniques, industrial development, government support policies, business models, the nurturing of education and talent, broadcasting systems, and animation. Scholars and students who are interested in the history of Chinese ani- mation will benefit from this book and it will appeal additionally to readers interested in Chinese film studies. Sun Lijun, Professor, Vice President of Beijing Film Academy and Presi- dent of China Animation Institute of BFA. He was appointed as the Vice President of BFA in 2012. Sun Lijun is one of the experts who receive State Council special allowance. He has directed several animated feature films, such as The Little Solider, Happy Running, Legend of a Rabbit, and Harvest, among others. Since 2005 his animated feature films have been screened internationally, including at the Berlin International Film Festival, Annecy Film Festival, Ukraine International Film Festival, Seoul International Film Festival, and more. His films have won many top awards both domestic and abroad, such as the Best Animated Film of 28th and 29th Golden Rooster Awards, which are the top awards given by Chinese government to the most outstanding and talented artists. China Perspectives The China Perspectives series focuses on translating and publishing works by leading Chinese scholars, writing about both global topics and China- related themes. It covers Humanities and Social Sciences, Education, Media, and Psychology, as well as many interdisciplinary themes. This is the first time any of these books have been published in English for international readers. The series aims to put forward a Chinese perspective, give insights into cutting-edge academic thinking in China, and inspire re- searchers globally. Titles about the arts currently include: Establishment of “Drama” Orientation Transition of the Research Paradigm of Chinese Dramas in the 1920s and 1930s Zhang Yifan Embodiment and Disembodiment in Live Art From Grotowski to Hologram Shi Ke China in the Age of Global Capitalism Jia Zhangke’s Filmic World Wang Xiaoping The History of Chinese Animation Edited by Sun Lijun For more information, please visit https://www.routledge.com/series/CPH The History of Chinese Animation I Edited by Sun Lijun TRANSLATED BY SHI YI AND LI JUNTING First published in English 2020 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 52 Vanderbilt Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2020 selection and editorial matter, Sun Lijun; individual chapters, the contributors Translated by Shi Yi and Li Junting The right of Sun Lijun to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. English version by permission of The Commercial Press. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Names: Sun, Lijun, 1964– editor. Title: The history of Chinese animation / [compiled by] Lijun Sun; translated by Shi Yi and Li Junting. Other titles: Zhongguo dong hua shi yan jiu. English. | Research on the history of Chinese animation Description: Abingdon, Oxon; New York: Routledge, 2020. | Series: China perspectives | Translation of: Zhongguo dong hua shi yan jiu. | Includes bibliographical references and index. Identifiers: LCCN 2019032989 (print) | LCCN 2019032990 (ebook) | ISBN 9780367427511 (hbk) | ISBN 9780367854867 (ebk) Subjects: LCSH: Animated films—China—History. | Animation (Cinematography)—China—History. Classification: LCC NC1766.C6 Z4813 2011 (print) | LCC NC1766.C6 (ebook) | DDC 741.5/80951—dc23 LC record available at https://lccn.loc.gov/2019032989 LC ebook record available at https://lccn.loc.gov/2019032990 ISBN: 978-0-367-42751-1 (hbk) ISBN: 978-0-367-85486-7 (ebk) Typeset in Times New Roman by codeMantra Contents Preface vii Acknowledgments viii List of figures ix List of contributors xxiv PART I The embryonic stage and birth of Chinese animation (1920s–1930s) 1 1 Overview 3 2 The embryonic stage and birth of Chinese animation consciousness 5 3 Modern Chinese animation 16 PART II Early Chinese animation between the years of 1931 and 1948 43 4 Overview 45 5 Chinese animation during the War of Resistance against Japanese Aggression 47 6 Art film team of the Northeast Film Studio 83 PART III The development of Chinese animation between the years of 1949 and 1977 95 7 Overview 97 8 Founding of Shanghai Animation Film Studio 99 vi Contents 9 Enlightened education in animation 132 10 Blockbuster works 136 11 Ink-wash animation in China 211 12 Havoc in Heaven, the first cartoon feature film 230 13 Summary of the characteristics of animation creation in the period 267 14 Representative works from the 1950s to the 1970s in Hong Kong, China 283 15 The creation background and representative works in Taiwan, China in the 1950s, 1960s, and 1970s 288 Bibliography 291 Index 293 Preface As practitioners of animated film, we have the responsibility to grasp the cultural inheritance function of animation and film. And in this regard, what we should do first is to respect history. Film and animation are a kind of art; therefore, we should first respect such art and realize and insist on their function of cultural inheritance and transmission. Animation creation also carries the function of cultural inher- itance and transmission and animation acts as the nourishment for the mind that delivers our long history and national culture to younger generations. Facts have proved that the power and achievements generated by any art form, such as film, animation or painting, in combination with its own national cultural tradition or national spirit, are so influential and mean- ingful that they cannot be ignored even in the western countries with their advanced animation technologies. Acknowledgments This book won’t have been possible without the research and interviews done by editorial board members including Wang Hao, Liu Mengya, Ma Hua, Zhang Yu, Zhang Wenzheng, Yu Luo, Li Guyu and Tan Hui. I am immensely grateful to the book’s associate editors Li Jianping and Wang Hao. The two led the editorial board members, mostly PhD candidates and professors, to untiringly search for archival materials and interview a number of longtime animation experts at Shanghai Animation Film Studio, including Yan Dingxian, Zhang Songlin, Duan Xiaoxuan, Hu Jinqing, Qian Yunda and Huang Yushan, among others. These experts created the first prosperity of Chinese animation industry and left us an enormous legacy in animation art. This book represents our heartfelt gratitude and tribute to them. My thanks also go to Professor Joy Yuhua Zhu at the New York Film Academy, Professor Cao Xiaohui at the Beijing Film Academy and Taiwan- ese animation export Yu Wai-ching, who did their utmost to make this book possible. The book is selected in the program of 2019 “China Book International”, and has attracted attention of people of all circles around the world. Here, we’d like to express our special thanks to the New York Film Academy for its huge support and contribution to the making of the book. Sun Lijun Figures 2.1–2.2 Paleolithic rock paintings of Yinshan Mountains in Inner Mongolia. The painting is presumed to depict the religious or sorcery acts and images of people’s working and sacrificing at that time. These images record shapes of animals standing and running, which are the earliest breakdown drawings of animal movements 8 2.3 Neolithic rock paintings of Cangyuan County in Yunnan Province. They reflect human activities, including hunting, dancing, sacrificing, and war 9 2.4 A dance-themed painted pottery basin of the Neolithic Majiayao Culture, discovered in Qinghai Province, China, over 4,000 or 5,000 years ago, depicts a riverside crowd, dancing hand in hand. Two lines are drawn on the arms of the two people at each end of the group, which may be our ancestors’ earliest attempt to manifest human sequential actions 10 2.5 Leather-silhouette play is also a forerunner of later invented film as it is the earliest dynamic art form. Among contemporary film arts, leather-silhouette
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